琵琶獨奏曲《江南三月》是王惠然1960年的琵琶作品，運用蘇州評彈的曲調為素材發展所創作的琵琶獨奏曲，旋律優美流暢、節奏輕快活潑、江南風味濃厚，樂曲充滿了熱情和活力。
琵琶獨奏曲《春雨》是由朱毅、文博共同創作的琵琶獨奏曲，是引用江南的評彈曲調所創作。此曲在其創作中大膽借鑒評彈的曲調，通過自由的變奏發展，表現出秀麗的自然風光和人們愉悅的心情。
三重奏《彈詞韻》是由周成龍所創作，與前兩者較為不同，是以琵琶、揚琴、古箏三件彈撥樂器點對點以及不規則重音的配合，將蘇州彈詞的韻味表現的淋漓盡致。
本文以探討彈詞音樂在三首樂曲中的素材運用，樂曲的曲調發展與演奏呈現。筆者將藉由琵琶獨奏曲《江南三月》、《春雨》，及三重奏《彈詞韻》三首樂曲，進一步分析與探討樂曲中所運用的彈詞素材，並了解在不同樂曲形式中所運用的彈詞素材的樂曲呈現，是如何透過琵琶的演奏而詮釋彈詞的音樂風格。
“March In Jiang-Nan” was a Pi-Pa solo music composed by Wang Hui-Ran in 1960. The music was inspired by the elements of Tan-Chi music, a musical genre of story-telling and ballad singing found in Suzhou, China.
“Rain In The Spring” was a Pi-Pa solo music composed by Zhu-Yi and Wen-Bo. The composers had ambitiously applied details from the Tan-Chi music to the composition, and created variations to present the beauty of nature and the happiness from the people.
”The Rhyme of Tan-Chi” was a trio ensemble music composed by Zhou Cheng-Long. The music was different from the solo pieces, it typically presented the melody of Tan-Chi from Suzhou and vividly included the trait of staccato and uneven accents produced by three different pluck-string instruments, including Pi-Pa, Yang-Qin (Chinese dulcimer) and Gu-Zheng (Chinese zither). This article is to investigate the elements applied, melody development and the performing methods of Tan-Chi music in three different pieces.
This research is to study, analyze and clarify the Tan-Chi musical elements used in the Pi-Pa music “March In Jiang-Nan”, “Rain In The Spring” and “The Rhyme of Tan-Chi”, in order to perform the style Tan-Chi music by Pi-Pa.
